Complete list of movies for Essential viewing based on The Dissolve's Essential Viewing and Essential Retro selections..
See Also: The…
George Romero's unusual story of a modern-day Renaissance troupe whose participants follow a medieval code of honor.
One of those crazy and unique movies that it's sort of impossible to rate. On the one hand, George Romero isn't as good a dramatist as he is a genre stylist, so a lot of the scenes in this are hide-under-the-moat embarrassing. But on the other hand it's such a singular vision and exploration of themes that were obviously important to Romero that it's always fascinating (the fact that it's chock full of awesome motorcycle stunts doesn't hurt either).
Also in this movie's favor are two powerhouse performances from Ed Harris and Tom Savini. As ridiculous as this movie gets (and that is a significant figure), they're never anything but committed to their characters.
I love that Romero is so earthy a filmmaker that his idea of glitzy showbiz decadence is a bunch of dudes smashing lamps over each other in a cheap motel room.
A 2 1/2 hour George Romero film about medieval re-enactors including Ed Harris and Tom fuckin' Savini. Instead of horses they ride and joust on motorbikes. I was always going to love this.
I quickly got over how silly this all was by the general awesomeness on display. Great stunts, ace music by Donald Rubenstein (he's even in this one as a cool musician dude serenading Harris) and enough delicious subtext to make up for the last however many dodgy zombie films from George. Well, maybe not quite.
Let us ride to Camelot! It is a silly place.
A 144 minute movie about Knights on Motorbikes???
A 144 minute Film about the internal struggle to choose artistic & spiritual freedom over fame & money and about finding happiness in your true identity.
An utterly unique and deeply personal adventure/drama from George A. Romero about a modern-day traveling Renaissance fair, in which the knights use motorcycles instead of horses, KNIGHTRIDERS is truly a strange bird of a film, but it's one of my all-time favorites.
In his very first leading film role, Ed Harris is characteristically intense and charismatic as the troupe's "King," whose commitment to living by an ancient code comes into conflict with power struggles among the knights and unwanted attention from media.
The cast is awesome and loaded with Romero alums, past and future. In addition to the biggest and most interesting acting role that Tom Savini has ever had (one that makes excellent usage of the FX genius's natural…
Weekly reminder to independent filmmakers: you can make a movie about whatever you want. You could even make a straight-faced epic about a motorcycle riding Renaissance Festival troupe if you thought you could do it with sincerity. George Romero did, and it bears his fascination with turning small communities (be it zombie apocalypse survivors in a shopping mall or Society for Creative Anachronism on Wheels) into microcosms of America at large. Rather than establishing a utopia just to destroy it, here Romero seems more optimistic that staying true and not selling out actually will give a permanency to the ideas espoused by the good king Ed Harris (his best performance?). The temptations of money and fame that plague the troupe…
it's hard not to cringe at the excessive dorkiness on display here (not to mention the excessive runtime) even if it is clearly a very personal artistic mission statement from Romero. that's mostly mitigated though by the sheer quantity of insane motorcycle stunts and Ed Harris' total commitment to a performance of a guy's total commitment to a performance.
George Romero's 1981 attempt to escape his own curse of the Living Dead is a romantic fantasy, centered on a group of itinerant stunt bike riders who think of themselves as King Arthur and his court. They replay the legend, with the Sir Lancelot figure (Gary Lahti) stealing Guinevere (Amy Ingersoll) away from the gallant, doomed king (Ed Harris). Romero seems to be trying to cultivate some positive values to play against the rampaging misanthropy of the Dead movies, but this film, too, hangs on a fierce rejection of contemporary American society, and ultimately its romantic vision is far from a happy one. At two hours and 26 minutes, it's a little wearying; it falls into that uncomfortable category of excessively personal works.
You think you know passion projects? You don't know passion projects. I've just seen the 146m cut of George A. Romero's Knightriders. This is a confusing time for me.
Overlong & overindulgent passion project by Romero. I do appreciate him branching out and the concept is fascinating, but the drama falls flat and feels forced. The excellent cinematography helps keep one's attention during the dry story.
A 144-minute George A. Romero film that tackles subjects like sexuality, self-worth, police brutality and the choice between artistic freedom and happiness over money and fame.
Camelot truly is a state of mind.
I mean... Tom Savini as a motorcycle knight?! SIGN ME THE FUCK UP.
But also, what about all the feminist characters in this movie about motorcyle jousters? love you Romero!
Also, the only movie about Ren fairs!
I unfortunately I did not love this film, but I did like the way I came about watching it. It is a process I should really follow more often for future films. All I really knew was it starred Ed Harris, was directed by horror maestro George A. Romero, and the film contained some kind of Knights. So my ideas of what the film would be about, amounted to. Horror set in medieval times, time travelling Knights brought to the future to ride motorcycles and fight an ancient evil. But what I was not expecting was this. A drama about a renaissance troupe struggling with a code that they wish to follow, within the confines of a modern society. Its…
Overlooked film by George Romero (possibly because there are no zombies in it) - it's a film that probably was a bit of a hardsell, given the drama driving the plot involves a traveling troupe who practice a combination medieval times/motorcycle stunt show. At the same time, given the film's emphasis (in 1981!) on acceptance, the open road, and family, alongside lengthy scenes involving people on motorcycles and/or sidecars hammering each other with weapons and some painful-looking authentic stuntwork, it's hard to imagine in a world where the Fast & Furious films are such a successful franchise that there aren't some people out there that would really enjoy this if they saw it.
Plus, there's a scene where Ed Harris, in full body armor and tights beats up a corrupt cop in a McDonalds and gets a standing ovation.
Just might have to get hold of the soundtrack to this one.
Morti gli ideali, frustrati i sogni, non rimane che ritornare
al passato remoto e a codici cavallereschi ormai non più in uso.
Film-contro e film-manifesto anarcoide e libertario, il più personale
Non siamo alla corte di re Artù, ma è come se lo fossimo.
Basta sostituire le moto con i cavalli e i caschi da motociclista con
Ed Harris regale.
The Dissolve: a website launched in 2013 devoted to writings on cinema from contributors Scott Tobias, Tasha Robinson, Keith Phipps,…